As this Taschen volume makes clear, the Master of Suspense remains appealing to cineastes young and old, with 50-plus features underscoring his timeless ingenuity.

Author Gwenda Young makes the case that from the silent era to the golden age, Clarence Brown deserves a place among the giants.

Director Ernst Lubitsch, who was idolized by Wilder and Welles, is brought into sharp focus.

The making of George Stevens' Texas-sized epic is recounted in Don Graham's meticulously chronicled book.

As the newly scaled down yet no less comprehensive Taschen book Stanley Kubrick’s Napoleon: The Greatest Movie Never Made demonstrates, Kubrick was nothing if not a completist.

Joseph McBride, who has written magisterial biographies on John Ford, Frank Capra and Steven Spielberg, has put together a collection of his journalistic work through the decades.

There's a sense of déjà vu in Jerry London's assessment of the smallscreen landscape when miniseries became all the rage.

Andrew Keen cuts through the rhetoric and explains the concept of net neutrality and why its a critical issue to the entertainment industry and to the protection of DGA members’ work.

Whereas many filmmakers would seek to play down the contradictions in their work, Lynch does just the opposite in this book of compiled interviews edited by Richard A. Barney.

In Driven, author Vincent Brook traces the role Jewishness played in the movies and sensibilities of UFA Studios figures such as Fritz Lang, Robert Siodmak, Fred Zinnemann, Billy Wilder, and Edgar Ulmer.

You want an epic life story? Try Micky Moore's near-century of activity in the movie business, first as a child star in silent films, then 20 years later as an in-demand AD and second unit director for auteurs like Cecil B. DeMille, George Cukor, John Sturges, and Steven Spielberg.

Despite twelve best director nominations and three wins, Wyler resisted the title of "auteur," instead preferring to recognize the contribution of his collaborators. As the interviews in this book (which span from 1939 to Wyler's death in 1981) reveal, he felt the director should shape himself to the picture's needs.

The former critic for LA Weekly pays tribute to the French New Wave and wonders what happened to that spirit in American filmmaking.

For 40 years, Werner Herzog has been what he calls "a good soldier of cinema," traveling the globe in search of "ecstatic truth." The wandering director talk about the journey.